Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Mustafa Ceceli - Aşktan Giderken (Yıldız Tilbe) - Chord
Key Bb major – G minor Chords Dm, Eb, Cm, Gm, F Easy key C
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Key: Bb | Gm
Capo: 0
Dm Eb Dm Eb Dm Gm F Eb Cm Dm
Dm Eb
Ne ilk ne sonuncusun
Dm Eb Dm
Düşüp de bu tuzağa kaybeden
Gm F Eb
Kendini terk eder insan
Cm Dm
Aslında aşktan giderken
Dm Eb Dm
Bir varmışız, bir yokmuşuz
Eb Dm
Masalmışız, yaş almışız derken
Gm F
Evet, doğruydu gitmen
Eb Cm Dm
Er geç ayrılacaktık zaten
Gm
O gönlün oldu mu?
F Eb Dm
Soğudu mu için?
Cm Dm
Bir cevap buldun mu?
Eb Dm
Neden, nasıl, niçin?
Dm
Bas bas bağır adımı
Duyan yok feryadını
Eb Dm
Bağır çağır
Dm
Al tacını, tahtını
Bin defa, yüz bin defa
Cm Dm
Hayır hayır
Dm Eb
Ne yaz ne kışmışım
Dm Eb Dm
Bi' bakmışım yalancı baharmışım
Gm F Eb
Zamanı bölmüşüm, çok ölmüşüm
Cm Dm
Ben neler görmüşüm?
Dm Eb Dm
Ne varmışım ne yokmuşum
Eb Dm
Sanki bitmez bir oyunmuşum
Gm F Eb
Çığlık çığlığa susmuşum
Cm Dm
Ertelenmiş umutmuşum
Gm
O gönlün oldu mu?
F Eb Dm
Soğudu mu için?
Cm Dm
Bir cevap buldun mu?
Eb Dm
Neden, nasıl, niçin?
End of song Play again?
Mustafa Ceceli - Aşktan Giderken (Yıldız Tilbe) Tabs
NotesX
Harmony analysis
Mustafa Ceceli – Aşktan Giderken (Yıldız Tilbe): key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 7 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Bb or to Gm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 30× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 20× |
| V | F | Dominant — strongest pull home | F · A · C | 7× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 7× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 7× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | 30× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 20× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 7× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 72 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×7
The move to watch is Dm → Gm, heard 7 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, Eb, Cm, Gm; read them as iii–IV–ii–vi in Bb or v–VI–iv–i in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Dm, letting the Bb side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Mustafa Ceceli - Aşktan Giderken (Yıldız Tilbe) Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Yıldız TilbeMusic: Sezen AksuArrangement: Mustafa Ceceli
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